The show ended with Adam going "on trial" by other abductees who debated over whether he helped or hindered in his plans to open people's abilities. Characters from past episodes returned to basically offer testimony.
Colonel Vise was injured and Adam saved his life only wanting Vise to leave him alone, and telling him that he's not a threat.
The FBI team were investigated (I think it was all the otherworldly stuff was too much to take with credibility) and they were taken off the case. I can't recall if it was a firing or reassignment.
The last scene I remember is Adam vowing to keep searching for his son (I don't remember if he ever found that he died or not) and helping others while walking away on a beach.
So the show did have a proper ending, just a heavily rushed one.

THE VISITOR is my HOLIEST of HOLY GRAIL scores.
David Arnold's hidden gem of a score. Very much an extension of his more tender material from Independence Day, with a bit of an X Files synthesized twist.
Been banging the drum to get it released just as Lokutus has on the FSM board. We are literally the only two who ever mention it.
It's still my favorite television score in existence.

Hit the nail on the head.
If more romantic comedies were like "As Good as It Gets" or "What Women Want", I'd probably enjoy them more often. I think the reason for that is the characters - both male and female - learn a deeper understanding of each other and actually grow.

Romantic Comedies (dog shit movies full of unrealistic expectations from women and the cucks who ruin their own lives to appease them)
Horror / Slasher (most of these are just plain stupid)
Musicals (The hell you need to sing for? Fucking say it don't turn it into some song and dance)
Anime (a complete and total lack of interest)
EDIT:
changed expectations of women to expectations FROM women. That's more like it.

It is in 5.1, it's the same mix as in the film's end credit:
Dion's voice and Tony Hinnigan's kena are about the only things in the center channel along with a synthesized bass. The rear channels are silent for much of the first half except for some synth strings that come in during the chorus, and then when they appear for the second chorus, the strings play throughout the remainder of the song. See below:
Have a listen here: https://instaud.io/3n7S
Of course the radio version produced by Walter Afanasshole or however it's spelled had the vocal spread across the front stereo channels while the rears had those backup singers.

Indeed. I love the 5.1 mixes.
I made all three of those albums into one DTS-HD audio Blu-ray a few years ago.
Matter of fact I used the 5.1 mix of that Titanic OST (which I'd originally had as the 1998 DTS Music Disc) to make choir-less versions of several cues of my custom presentation, and did a full stereo remix of the A Beautiful Mind OST using that 5.1 version because the stereo mix on that disc / audio CD was lacking. It had all the rear channel pianos missing from key cues like 'Cracking The Russian Codes'.
Zorro on the other hand, was fantastic as a listen, 5.1 or stereo.

Not all cues have the dates listed because they weren't on the documentation.
Correct, anything "Revised" is re-labeled as 'Alternate' on the LLL release. Example being "Southampton - REVISED" is changed to "Southampton (alternate)"
The film version of "A Promise Kept" used a piece from Michael Stearns' Encounters album called 'Beacon'.